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John Culshaw and the recording as a work of art
David Patmore, University of Sheffield
Presentation outline
Culshaw: life Culshaw: ideas Examples of these in action Suggested explanations for
decline Sources: Culshaw’s articles for
record press, interviews
The central issue
‘John had the concept of the recording being an art form in itself – and that’s what he believed in.’ – Gordon Parry in interview, 8th April, 1999.
Life (1) Born: 1925, Southport, UK Bank clerk before joining Fleet Air Arm After war, writes freelance music articles 1946 Joins Decca’s publicity department 1947 Begins work as a producer with
Decca 1951 Becomes permanent with Decca 1953-55 Heads Capitol’s European
classical operation
Life (2) 1955 Returns to Decca as producer 1956 Replaces Victor Olof as head of
classical production at Decca 1957-58 Introduction of stereo LPs 1957-67 Produces major recordings for
Decca and RCA 1967 Leaves Decca to become head of
music at BBC TV 1975 Leaves BBC TV, and pursues
freelance career 1980 Dies of hepatitis
Ideas and influences (1) - general Foundation: working internationally for
large corporation, dedicated to recording Access to capital plus freedom of action Primary function of producer: to draw out
best from performer Saw value of recordings as long-term
documents, in the service of the composer Team player not an autocrat But not shy in pushing forward his ideas
Ideas and influences (2) - the keys ‘John had not only the musical side…but he
also had this deep sense of what the market wanted, where it should be going. Stereo: as soon as John heard of stereo, he was there. He saw the potential.’ – Jack Boyce (Decca marketing) in interview, 8th April, 1999.
‘A fine production in any medium is the sum of its small details, which have to be mastered and absorbed before it an transcend then and approach the realms of art.’ – John Culshaw, Records and Recording, February 1962.
Ideas and influences (3) Key influence: Gordon Parry Parry saw Das Rheingold as an ideal
work for stereo production Convinced Culshaw of this Timing excellent: strong interest in
stereo in USA Rheingold recording a major
commercial success Opened the way to further similar
productions
James Mallinson’s view Re: the recorded performance as
a legitimate art work in its own right:
‘…that is what it is. It is what it should be. You should never look at a record as being a sort of poor relation of a live performance’. – in interview, 2nd June, 1999.
The key recordings 1959 Das
Rheingold 1961 Tristan und
Isolde 1962 Salome 1963 Siegfried,
War Requiem 1965
Gotterdammerung 1967 Elektra
Key characteristics of successful (opera) recordings Constructed : too many errors in live
recordings The recording is artificial and unique: key
features: Satisfactory balance: relationship with
conductor key (Solti) (Rheingold) Uniqueness: getting inside the score gives
specific vision (Tristan designs) Movement: acting and so intensity of
expression (Tristan) Atmosphere: drama (Salome) Authenticity: fidelity to composer’s
intentions (War Requiem)
Recordings and Film Parallels with film:
- created in the studio- cost- cutting- continuity- the record producer = the film director
Example: Gotterdammerung film
The recording as art work
Culshaw strove to create recordings that were parallel to successful theatrical and film productions
Individual concept, mastery of technology, attention to detail, outstanding performances =
A work of art
Decline and Fall Immediate: no-one followed Culshaw’s ideas SonicStage ‘childish’ (1980) Possibly seen as classical parallel to Phase 4
(critical opinion dismissive – but vast sales) Long-term: miniaturisation and improved
recording eliminated need for studio Made live recording technically as good as
studio, as well as cheaper Overall discourse: the objective of
recordings: to emulate the concert hall: in conflict with these ideas
The recording now seen as no more than a process
The verdict of history? ‘It is …open to question whether any
studio recording of The Ring could reasonably be expected to be more atmospheric, exciting or better performed than this one.’ – Arnold Whitall, Gramophone, March 1989.